A tango about a bohemian's life in Paris

BOHARDILLA

"Bohardilla" means a humble attic, and in this tango, written 1944 by Rodolfo Blasi (music) and Horacio Sanguinetti (lyrics), a student reminisces about his life in Paris and his love affair with a certain "Mimí" - a reference to Puccini's opera "La Bohème"; it evokes popular images of romantic Paris with various keywords about Paris like "Sena" (Seine), "Barrio Latino" and even "Tango".

Miguel Caló and Julio De Caro recorded this tango within four months in 1944. Both versions are very melodic and elegant, but in a different way.

Miguel Caló with Raúl Iriarte, recorded 9th of April, 1944

https://www.youtube.com/watch?v=TQ3sOgUvQTo

Julio De Caro with Carlos Viván, recorded 9th aof August, 1944

https://www.youtube.com/watch?v=C_cTWgseJ6s

Caló's version:

This song immeditaly invites one to dance with its catchy melody and its swing produced by the elastic rhythm. The arrangement is very rich; in the B part Caló lets the instrumental sections shine: first the bandoneons, then Osmar Maderna's piano, and, before the singer comes in, Enrique Francini with his radiant violin. Raúl Iriarte's full and elegant voice is accompanied mainly by the violins, with elastic pizzicato parts and slightly dramatic countermelodies; with a special rhythm when he sings about the snow. After the singing we hear a short melancholic bandoneon solo with a syncopated rhythm in the background; then the final with a short bandoneon variation and Caló's characteristic piano arpeggio.

De Caro's version

The arrangement is similar to Caló's, but De Caro's orchestra plays it solemnly and with subtle rubato, and in the solo parts with stronger rubato. In the B part we hear a very expressive bandoneon duo, playing "ligado" (with the notes linked together) and a bit of tremolo, and then a beautiful moment where the solo violin plays gently together with the stretched high notes of a bandoneon (0:54). Carlos Viván's voice is weaker than that of Raúl Iriarte; the counterpuntal orchestral accompaniment is rich and varying in rhythm and instrumentation. After an instrumental break - once more with a wonderful bandoneon part - the singer comes back, a short bandoneon variation comes in and leads to a stretched ending. This version is intense and creamy (and quite unknown).

Orquesta Miguel Caló

Orquesta Julio De Caro